Full text of "Forged War Crimes Malign The German Nation"

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Forged "War Crime" photos malign the German people!

by Udo Walendy

translated by M.S. Atoegisit

Second edition 1989

Copyright by Verlag furVolkstum und Zeitgeschichtsforschung Vlotho (Weser)
Printed in Germany by Kolle-Druck, D-4994 PreuBisch Oldendorf

The following collection is composed of falsified pictures published after
1945. Only such pictures have been analysed which were printed in "Scientific"
books as "Original Photographs" or "Photo documents". Falsified pictures
from magazines, newspapers and unimportant brochures have particularly not
been included. This combination of pictures does not deny that such or similar
occurences did take place, but this is not the issue. These pictures are alleged
to be documentation of accusations and as such they must be subject to in-
vestigation. There is a world of difference between what could have happened
and what did happen. Scientists and official institutions who allege that
falsified pictures are authentic evidence, not only make themselves suspect with
regard to these pictures but with regard to all their statements. No one can
therefore take their word for a single statement, document, picture or
"photograph" which they present as "an actual exchange between document,
picture and word." (Cover text in K.Zentner "Illustrated History of 2nd World
War" (lllustrierte Geschichte des 2. Weltkrieges")) without previous detailed
investigation. It is easy to falsify the historical thread by selection of text,
pictures and documents. This is not necessarily downright fraud but is at least a
"one-sided tendency" and "slanted or biased reporting". However someone
who knowingly proffers true pictures with a false text or uses retouched,
clipped, transposed drawn or otherwise altered photos and alleges that these are
"authentic photographs" is guilty of fraud or forgery. The following text is
exclusively taken up with such forgeries, but the question remains: Who forged
them, who took them at face value and who obtained them with the deliberate
intention of deception? This collection is in no way complete. It could be
extended nearly unlimitedly.

The examples given in what follows are in no way impugned by the mass of
pictures, because a large number of pictures does not prove anything. Expe-
rience teaches that "a mass of pictures" can also be forged — and has been
forged. Falsifications of such could also be proved by valid photos in the same
manner conducted here. The question arises: why, the world over, have the
conquerors and their helpers deemed false pictures necessary if true pictures
were available? It is noteworthy that documents about the German concentra-
tion camps have seldom, if ever, been published.

It seemes reasonable and has been maintained that pictures of German con-
centration camps are mostly unavailable for the period between 1933 - 1945.

In light of this dearth of important information it is incomprehensible why
numerous good photos of these camps were not taken and presented to the
world almost immediately after these places had been occupied by Allied for-
ces. This question is rendered even more critical by the realization that large
numbers of pictures were released to the news media before and after the
collapse of the 3rd Reich depicting many facets of ruined Germany including
the remains of military installations.

Falsifications or fabrications of pictures by retouching, clipping, trans-
posing, drawing or otherwise altering their appearance is not difficult today.

The forger can assume that:

a) the normal viewer will not detect that they are altered, especially if they

are printed next to true photos on fine art paper.

b) the layman does not know the many possible drawing- and photomechanical
procedures of the specialist and therefore does not expect fraud.

c) The expert photo-analyst is confronted by a host of uncertainties: He knows
neither the conditions of light, weather, distance nor the parameters of the
photographic equipment such as lens, focal-length, f /number etc.

d) The lack of knowledge of photographic materials and processes used causes
further ambiguity and provides additional difficulties for the expert
examiner.

e) No viewer was "present" and therefore cannot recognize persons or places,
for normally the landscape is excluded from these photos, so that no one
can determine the theme and event positively.

f) Most viewers are revolted by the idea of such grim occurences and hence do
not believe that anybody would make forgeries of such atrocities.

g) Most people tend to believe what they are told to believe about propaganda
pictures, especially if they have no attitude set to the contrary and the text
is delivered in an authoritative manner.

The historian, however, has to examine all factual evidence which has been
published, including photos and text, and must ascertain its authenticity.

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"After a butchery by the "NachtigalV-batallion amongst the residents of
Lwow. Political commander of this unit of Ukrainian nationalists is a German
officer by the name of Theodor Oberlander."

This picture was published with this text in "Der 2. Weltkrieg, — eine Chro-
nik in Bildern", by Heinz Bergschicker, Deutscher Militarverlag, Berlin-East,
(no year), p. 150. This valid photo was provided with a wrong text. It has now
been clarified on whose conscience these murders in Lemberg during 1941
fall. Kurt Ziesel gave a detailed comment on this in "Der rote Rufmord" (Tu-
bingen 1961) p. 78 ff.

"In an abandoned reversal of facts, the Soviet "Isvestija" and the "Neue
Zeit" (communist) gave the signal for the defamation of Bundesminister
Theodor Oberlaender as "the mass-murderer of Lemberg". The "fact-book"
"Die Wahrheit iiber Oberlander" (The truth about Oberlander) is brim-ful of
forgeries, — there is even similar support from Western Germany and it was
printed as a "Braunbuch" (Brown-book) in East-Berlin. It contains, amongst
others, defamatory accusations by the VVN (Vereinigung Verfolgter des Nazi-
regimes) against the "Nachtigall"-batallion and its commander (Prof.) Ober-
lander, and the whole affair was blown up into a first class political issue."

We further quote Kurt Ziesel:

"When Oberlander openly declared for the first time that he would apply for
the establishment of an Investigation Board into the murders at Lemberg, in
Germany, the Soviet Embassy sent a letter to the Department of External
Affairs, the contents of which expressed that the Soviet Union would regard it
as an unfriendly act of the Federal Republic if the mass-murders at Lemberg
and the Soviet part therein were to be investigated on German soil. Only after

this massive blackmail by the Soviet- Union, Oberlander decided to approach
leading resistance organizations in other countries with his proposition. After
such a Board had taken up its work, a campaign of blackmail started against all
Board members. They continuously received nightly telephone calls with
threats and murder warnings. A meeting in Den Haag was accompanied by a
communist street demonstration. In spite of this, they courageously tried to
carry on their quest for truth...

The member of Parliament for the SPD, Frenzel (he was later imprisoned as
a spy for the secret service of Czechoslovakia) who had up to then agreed to
be a member of the Board, to keep up appearances, disappeared to East Berlin
for four hours when there was a meeting in Berlin. Apparently he received
orders there, to change over and make further activity of the board impossible
by his demonstrative resignation from the URPE. Without letting the URPE
know, he handed a long declaration to the press, in which he declared himself
as being 'mislead and deceived...'. The attack by one of their co-founders was
the determining cause for the 'International Board of Investigation, Lemberg
1941' to cease their work...

These monstrous preliminaries to the prevention of revealing the Soviet role
in Lemberg and the whole Ukraine, received their special macabre note when
the SPD-member of parliament, Carlo Schmid, who was acting President of the
'Bundestag', forbade the distribution of a brochure 'Lemberg 1941 and Ober-
lander' giving as the reason, that he did not know who paid for them. This
brochure contained the facts, which the 'International Board of Investiga-
tion, Lemberg 1941' obtained until they disbanded. Among these facts was a
collection of statements by more than 200 witnesses throughout Europe, which
meant an unequivocal unmasking of the Soviet crime in the Ukraine. The
brochure was also made available to the whole German press, but, except for a
few smaller regional newspapers, it was given the silent treatment by the press
at large, which also included 'Spiegel' and 'Rheinischer Merkur' , the same
institutions that had in the meantime printed distorted statements of witnesses
(that had been proved false). These statements did not incriminate the Soviet
Union but Germany...

Based on 232 statements by witnesses, mostly Ukranians and Poles from
Lemberg who now live in the West, as well as Jewish citizens of Lemberg and
also based on official documents, the Board came to the unequivocal con-
clusion:

"The accusations against the batallion "Nachtigall" and the then Oberleut-
nant and present Bundesminister Oberlander, lack every foundation. ... "

Even the Soviet Investigation Board in Lemberg in 1944 came to this con-
clusion, as there is no mention of the unit "Nachtigall" nor of Professor Ober-
lander, nor any of his colleagues. Also in the Nuremberg trials, the name Ober-
lander was not mentioned; the name Oberlander was not mentioned once in
connection with the crimes committed in Lemberg.

Immediately after the Nazi campaign against the Soviet Union on the 22nd
June, 1941, the security agents of the Soviet secret service (NKWD) started
with the imprisonment of elements in western areas that were, to their minds,
untrustworthy . Thousands of people of numerous nationalities were deported
or imprisoned. When the transport-department broke down and it became
impossible to transport the prisoners to inner-Russia and Siberia, the comman-
ders of the NKWD were instructed by radio to release the criminal prisoners
and to liquidate the political prisoners. In the Ukraine, and as such in Lemberg,
the NKWD-groups were responsible to the General Secretary of the communist

party in Ukraine, Chruschtschev, who resided in Kiev. The commanders of the
NKWD received the instructions to liquidate the political prisoners from
Chruschtschev personally by radio on the 24th of June 1941.

Upon this order, a massacre followed in the overfilled prisons of Lemberg
and all West- Ukrainian districts. According to the trustworthy findings of the
American "Kersten-Ausschuss", at least 80.000 - 100.000 people were murde-
red in the Ukraine by the special commandos of the NKWD troops. Responsible
commander was the General Secretary, N. Chruschtschev. "

The following statement in this brochure is worth mentioning: "To obtain
an objective picture, the commision invited the accusers from the East and their
witnesses to testify in front of the commission. Regretably, not one of these
witnesses was prepared to accept the invitation. "

This case was taken up in more detail here to obstruct the newly started
campaign, to obscure the clearing of the Lemberg murders of 1941 and to
demonstrate the methods which the "Conquerors of the German's past" take
pleasure in using to push trough their political interests.

Supposed German soldiers. These are drawn figures, whose anatomy is
partly wrong, especially the upper and underarm of the second "Soldier" front
right. -Enlargement of part of the following picture, (page 6)

"To the execution"

Published with this text in "Eichmann - Chefbuchhalter des Todes" by S.
Einstein p.200, 1961, Frankfurt/M., Roederberg Verlag.

The photo on hand, of the three women, was already published in 1956 by
the publishers "Volk und Welt, East Berlin" in the book "Geissel der
Menschheit - Kurze Geschichte der Naziverbrechen" by Lord Russel of
Liverpool p. 193. ("Scourge of Swastika, Short History of Nazi-Crimes")

The text there is:

"Newly admitted concentration-camp prisoners on their way
to medical inspection — cut from a photo, found on a German prisoner."

Strangely - these are completely different circumstances! But still, the
text here is obviously invented. There are no further details of this German
soldier, and from the picture not even this circumstance can be proved as there
is no concrete evidence as place and time. Apart from this, no German army
members were allowed to enter the concentration camps before 1945, at least
not in uniform. The uniforms of the soldiers show them to be frontline troops,
not camp guards.

The first publication of this picture was, however, shown besides numerous
other improbable pictures, without text in

Eugen Aroneau's "Konzentrationslager" Dok. F. 321 for the "International
military court" in Nuremberg.

It was taken over (in damaged condition) from the files of the "International
military court" Vol. XXX, p. 393.

Although this picture initially appears as genuine, the sloping walls of the
shed, the distorted window, the different lengths of shadows as well as the
suspicious shadows on the necks, all show that this picture can not be a genuine
photo.

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"Camp commander Hoess with prisoners in Ausschwitz"

Published with this text in "Macht ohne Moral" p. 132 by R. Schnabel.
Published in revised edition without the name "Hoess" in: "Widerstand in
Ausschwitz" Berlin-East 1957 p. 80 by Bruno Braun.

This picture is built up from a drawing. The faces are primarily grey areas.
The light reflections are inconsistent as on the head scarfs, faces, hands, the
shadow of the "SS-man", which does not even start exactly at the shoes. The
hand, which is over the left foot of "Hoess" is out of proportion and the hands
of some of the women are anatomically too small. A comparison of the
enlargements of the pictures from Braun and Schnabel reveal, that the
"SS-man" is drawn into the picture differently and in the wrong perspective.

Detail from the middle of the picture. There is no hand that could throw
such a shadow. The lack of detail on the face is astonishing when compared to
that of the "SS-Man" and others further back.

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"Poles are forced to crawl on the ground in the Lemberg ghetto. "Published
Published with this text in "Macht ohne Moral" p. 442 by R. Schnabel

This picture ist also a fabrication. A typical sign is the contourless white
foreground which reaches to behind the gate with no differences in lighting.
According to the house, the light comes from the left, whereas the "Poles" are
lit from the back and only throw short shadows between the bodies which
points to the sun shining vertically onto them (impossible in Poland). The
enlargement of the photo reveals that the building never existed, as all building
lines run crooked to each other. The perspective investigation reveals that the
soldiers, fence, lantern, and house are much too big in comparison to the front
"Pole" at a distance of at least 10m and for a frontal photograph; they are
standing much too "high". The head of the crawling "Pole", who is apparantly
talking to the woman, does not fit anatomically to his body at all and is, apart
from that, much too dark in comparison with his hands.

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"The Gestapo degraded Jewish people by cutting off the traditional haircut
with scissors"

Published with this text in "Illustrierte Geschichte des Zweiten Weltkrieees"
p. 390 by K. Zentner.

This picture is a fabricated photo and presents a completely unrealistic sit-
uation in this form. No soldier in full battle attire, with gloves and haltered
weapon, would want to cut the hair of a Jew, who was nearly bald. All faces
(very clearly seen at the eyes) are touched up. The mirroring on the steel
helmets is unrealistic, (no photograph shows such reflections) the shadows fall
contradictorily, the rifle hangs the wrong way round, the stock should be at the
back, the haltering in front, the grooves on the wall run at random. The absolu-
tely black coat of the Jew runs into the other part of the picture without
aparent outline, because the whole picture is a mounted fabrication.

A genuine photo as comparison.

Enlargement of the swastica on the
helmet of the fabricated picture.

Enlargement of the swastica on the
genuine helmet.

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"Polish Rabbi is degraded"
Printed with this text in "Macht ohne Moral" by R. Schnabel p. 408.

"Maltreatment of a Jewish priest". Printed with this text in "SS im Einsatz'

Printed with text in "SS im Einsatz"

p. 521 Berlin East by the Committee of anti-fascist resistance-fighters in the
DDR

This picture is a straight-forward drawing. The heads of the soldiers are much
too small in comparison with their bodies; the same is true of the Jews in the
background. Although the soldier on the right is standing the same distance from
the "camera" he is too small in comparison to the other soldiers, but at the
same time he is too tall in comparison with his head and his gun is too thin. The
caps of the soldiers are wrong and the neck of both soldiers are wrong. The
ground is too sloped, as the picture could not have been taken from higher than
normal height. Architecturally the lines of the buildings are erroneous. The
conditions of light and shadows as well as the focus of the picture are not
correct if compared with the Rabbi in front. The pictures of both books are not
the same if compared in enlargement. The soldiers are reported to be SS, yet no
eagle is visible on their left arm overcoats. Compare with left arm eagle on left
arm on page 10.

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A comparison of this painted "soldier" with a real photo of German soldiers
(taken from the book of Paul Carell "Unternehmen Barbarossa im Bild — der
RuBlandkrieg fotografiert von Soldaten", Berlin - Frankfurt - Wien 1985 Ull-
stein Verlag, p. 87) shows how a photo looks like. i ?

A comparison with the size of the head makes any comment unnecessary.
The reader can see this more clearly with the help of an outline on tracing
paper of the correctly proportioned anatomy (recommended also for other
pictures). The head of the soldier is not even in the centre of his shoulders. The
belt surrounds the upper part of the pelvis.

The reader can see this more clearly with the help of an outline on tracing
paper of the correctly proportioned anatomy, the position of the feet, the
physiognomy of a face, a neck and so on (recommended also for the other
pictures).

"Women and children just before the execution".

Published with this text in "Faschismus, Getto, Massenmord" by the Jewish

Historical Institute Warsaw, Frankfurt/M. Roederberg Verlag 1969 p. 334.

This picture is a photographed drawing. The whole situation, including the
background, is unrealistic. The black head of the "prison guard" as well as the
over-exposed effect and anatomical distortion of the women in front and in the
back is a primitive production mistake. The deliberate unclarity and incorrect
light and shade variations make all further analysis unnecessary.

Following: Two further, changed versions of the picture.

"The photographer of the women in Treblinka, who are going to the gas
chambers with their children on their arms, is not known. "

Published with this text in "Der gelbe Stern — Die Judenverfolgung in
Europa 1933 bis 1945" Ruetten und Loening Verlag, Hamburg 1960 p. 163.
(The Yellow Star)

Published also in: "The Pictorial History of the Third Reich — A Shattering
Photographic Record of the Nazi Tyranny and Terror" Robert Neumann, Helga
Koppel Bantam Books New York, 1962 p. 191.

Apart from other re-touches, note on this picture the guard with a cap
instead of a hat and the woman in front of him has long hair and shaded legs.

"The women, huddled together, from all parts of Europe, had to undress
themselves and their children before they were led into the gas chambers. "

Published with this text in "Eichmann - Chefbuchhalter des Todes" by S.
Einstein, Roederberg Verlag, Frankfurt/M. 1961 p. 202.

Also published in photodocuments in "Mein Kampf" by Erwin Leiser.
Fischer Bucherei, Frankfurt/M, - Hamburg, 1962 p. 166.
This picture is a straight-forward drawing and an improved edition of the

picture on p. 14.

Enlarged section of picture on p. 14

The woman on the left now stands in the light, including her flank. Apart
from that, she now has long hair. Only one leg of the baby can be seen. The
woman in the shade on the right appears for the first time in this group, a clear
example of how one can practically "make a body appear" with the help of
retouche and drawing. The background and the space between the feet are
completely changed; the back of the guard is not shaded black anymore and the
baby suddenly has shiny hair. The colouring of the second woman behind is
also different. The position of the legs of the woman carrying the baby and the
one behind her are different in comparison with the older picture.

The woman on the left stands with her legs in the shade and has short hair.
The left foot of the baby can be seen and the background between the legs in
light grey without any further light reflections. Although many shadowed parts
cover details, a number of anatomic riddles appear: one need only look at the
woman on the right.

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Enlarged section of the picture on p. 15 (bottom)

This picture was also printed in enlarged form (women with all hair styles
the same) in: "Stanislow— Wros — Glinka 1939 - 1945, We have not forgotten"
Warsaw. 1959 p. 107 (Version "gaschamber") as well as in other Polish books
and in Robert Neumann's "Hitler — Aufstieg und Untergang des Dritten
Reiches. Ein Dokument in Bildern" Desch-Verlag, Wien, Basel 1961 p. 193.

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"To the execution"

Published with this text in S. Einstein's "Eichmann - Chefbuchhalter des
Todes" Roederberg Verlag, Frankfurt/M. 1961 p. 200

This picture is actually a photographed drawing which is not even well done.
Light reflections, focus, lighting of background, the white woman on the right
With no contours whatsoever speak for themselves. It is also to be noticed in
the details of the picture, that faces, hair reflections and shadows are, exactly as
the whole situation, completely unnatural.

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"Russian women have to undress before they are gassed. "

This "Original photo" appeared with this text in R. Schnabel's "Macht ohne
Moral" p. 480, released in 1957, Frankfurt/M.

This is in reality a drawing, which was done with the obvious intention of
making it as unclear as possible with regard to all instances which could be
checked upon. The light reflections are haphazard and, with the exception of
the underpants, there is no blending of shades. The colour blending of black
and white, especially in the underclothes lying on the ground, and in the arm
sashes and the faces of the "guards", is completely unnatural. The right leg (left
in the picture) of the woman is slightly slanted to the ground. Two pieces of
"clothing" are between the woman's legs. On the picture on p. 22, the leg has
suddenly changed position.

The picture on p. 21 , like all others of communist origin, this time shows the
seated woman with drawn up legs and a soldier with a cigarette. A comparision
of enlargements, also undertaken with the picture on p. 22, shows that this is
a drawing and that perspective changes were made. The ground is also too
tilted and, once again, the soldiers in the background are too large.

"Polish residents, before being shot by SS-murderers"

Published with this text in "SS im Einsatz — Eine Dokumentation ueber die
Verbrechen der SS" Berlin-East 195 7 p. 536.

Instead of "Russian" it is now "Polish" residents. Instead of being "gassed"
they are now being "shot".

The picture on page 22 is better, but no less faulty.

In these books also, no date is given. The text is immediately proved wrong,
as Lijepaja (lettish) is Libau, a city of then 57.000 residents, the second largest
city of Lettland. But the background on the picture shows, this is definitely not
a city.

The picture is a fabricated photograph, based on the one published earlier
(p. 20). There is no reason to touch up a good picture to make it worse, and
then publish the bad picture six years earlier. Not one piece of clothing can be
specified. Compare white "piece of clothing" near the right foot of the standing
woman, specially the extreme right part of it, with the other picture and try to
discern on what it is lying on. A picture which shows every fold on the women's
pants, should also show details close to the foot, which is however not the case.
The "guard", on the left of the standing woman, appears for the first time in
this picture. There are no contours in the head region, which is technically
unexplainable, as light reflections are shown left and right. This is made
especially clear, if you put the older picture next to it. The "gun" on the left of

the head of the standing woman appears for the first time. There is a total con-
trast in the physiognomy of the two women (left side and center). This is never
possible in a photo, — but in a painting! If You enlarge all these pictures, You
will see that the eyes, the hair, all shadows are only black blotches without any
natural characteristics.

"The Gestapo brought women and children to be shot"

Published with this text

("shot" instead of "gassed") in the "exceptionally comprehensive picture
and document material of great historical value." (according to the foreword)
in K. Zentner "Illustrierte Geschichte des 2. Weltkrieges", p. 490, 1963 edition,
Miinchen, Siidwest Verlag Neumann, K.G. The cover reads "Clear pictures of
the happenings on the different fronts. Nothing is made better, nothing is left
out, nothing is forged."

In 1964, a year later, even more is known:

"Mass execution of women in Lijepaja in Lettland."

Taken over with this text by "Das Dritte Reich — Seine Geschichte in Texten,
Bildern und Dokumenten" published by H. Huber, A. Muller and in coopera-
tion with Prof. W. Besson, Vol. II, Verlag Kurt Desch, Miinchen - Wien - Basel
1964 p. 523.

Published also in G. Schoenberner "Der Gelbe Stern" Ruetten und Loening
Verlag p. 96 ("The Yellow Star")

"Jewish women undress before the execution. No brutality too small... "
Published with this text in "Der Spiegel" No. 53/1966 p. 48.

"Female prisoner with test operation on the breast"

Published with this text in R. Schnabel "Macht ohne Moral", p. 328.

The picture is fabricated. This woman never existed like this. Details of the
person, time, place and kind of "medical experiment" were not given. The
reasons and the aim of such a "medical experiment" is not clear, even for
scientists. The head has been technically mounted onto the picture. This can be
seen by a comparison of the anatomy, the unnaturally shadowed part on the

throat at the base of the head and the touched-up lightness of the part of the
body under the breast, including the left arm up to its wrist, whereas the right
lower arm and the stomach region do not fit these "light conditions". The
corresponding picture is in "KL-Ausschwitz - Arbeit macht frei" by the
Committee International D' Auschwitz, Warsaw, no year, p. 25, making it clear
that the woman is neither sitting on the stool, nor is she standing behind it.

This picture is printed in a touched-up form in S. Einstein "Eichmann —
Chefbuchhalter des Todes" Roederberg Verlag, Frankfurt/M. 1961 p. 201.

*■■

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KZ-guard, victims in Buchenwald:

KZ-guard, victims in Buchenwald: "In the SS- government, the perfect
slave system"

Published with this text in "Der Spiegel" 10.10.1966 No. 42, p. 101.

This picture is fabricated. The lighting of the left side of the picture is de-
finitely different from the right side. The facial contours of the prisoners are
unrecognizable, whereas the contours of the "SS-Unterscharfii hirer" are vis-
able to the last detail. Whereas the prone prisoner throws a clear shadow, the
"SS-Unterscharfiihrer" casts no shadow. The upper part of the uniform of the
"guard" (above the belt) does not match the lower part. The side pockets under
the belt are missing; the buttoned edge of the jacket does not run correctly
from top to bottom; the left hand (right in the picture) should be in the shade,

whereas it is brightly lit. An "SS-Unterscharfuhrer" was not allowed to wear
officers' trousers with boots at all; the pistol hangs on the wrong side. It is
unlikely, that prisoners would be hanged from such trees, which at best would
only have a hold very high in the crown, and that they would be hanged in this
manner. Hanged people with pulled up legs are non-existent. In Jan. 1968, in
the museum of the Dachau-Memorial, the editor could see clearly on a life-
size enlargement that they forgot to draw in the ropes in this picture by which
the two "hanged prisoners" were supposed to hang. As such, they are floating
in the air without ropes.

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"Trailers with corpses of prisoners, CC-Buchenwald"

Published with this text in R. Schnabel, "Macht ohne Moral" p. 343.

This picture is also fabricated. This is clearly recognizable by comparing
enlargements of this print and the reproduction in "SS im Einsatz" Berlin-East
1957, p. 193, and "Buchenwald - Mahnung und Verpflichtung - Dokumente
und Berichte" Berlin-East, no-date, picture supplement. The wheels differ. The
legs in the back part do not fit anatomically and perspectively to the front
body parts. The unclarity of the load contradicts the clearness of the trailer
parts.

The anatomy of the "bodies" is much too small in comparison to the trailer.

"The terror in the occupied areas had a first aim: the extermination of the
Jewish population and the intimidation of all residents who did not subject
themselves completely to the regime. The Gestapo brought women and children
to be shot. "

Published with this text in K. Zentner "Illustrierte Geschichte des Zweiten
Weltkrieges" p. 490.

A better, touched-up version was published in "Der gelbe Stern" I.e. p. 96,
("The Yellow Star").

A comparison between the pictures on p. 26 and 27 reveals the forgery even
more clearly than would be recognized from one picture. All women are
wearing something different. In one picture, underclothes with a V-cut, in the
other one with a round cut. The woman on the left wears pants in the one
picture and a skirt, which she has pulled up, in the other. The different drawing
of the clothing and the soldiers on the left and right of the picture speaks an
equally eloquent language of wrong perspective (The sizes of the soldiers are
too varied) and once again the ground is tilted too much. The whole situation is
completely unrealistic. Before an execution, one does not look so relaxed in a
group photo, and on top of that — how embarassing for the forgers — barefoot
in Lettland on the 1 5th December, 1941, with over minus 40 deg. C frost!

The completely shadow-less underpants of the elder woman, in comparison
with the vests and pants of the other women and the typically black and white
contrast of the clothing on the right and the completely different lay-out on
the left, prove that this is a drawing and not a photo.

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"A group of women before being shot. On the left of the picture is Purve Rosa,
worker in the factory "Kursa" and her mother next to her. Photograph from
the chief of the Gestapo unit in Ljiepaja, Hauptscharfuehrer Karl Schrot, 15th
December 1941"

Published with this text in "Verbrecherische Ziele — verbrecherische Mittel"
by the "Institut fuer Marxismus — Leninismus beim ZK der KPdSU, Moskau
1963, p. 132.

Now we know exactly. The woman on the left in the second row looks up,
surprised. Without hesitation, the newspaper "Der Stern" transfers the whole
scene to White-Ruthenia and defines it as "Action 1005".

page 28:

Enlarged section of picture on p. 26 ("soldier" on the left) in comparison to a
genuine human bone structure.

1. Based on a comparison of the size of the head.

2. Based on a comparison of the length of the body. See page 28.

Comment unnecessary.

... '*

These Jews never existed. Should they have existed, they would have been
introduced to the international public and would have been mentioned by
name in the publications, and their addresses would have been given. One need
only look at the left and right hands and the white sleeves belonging to them, as
well as the anonymous terrible background, to know where we stand with
this "proof".

The stars are situated differently on the 3 pictures. In Robert Neumann
"Hitler — Aufstieg und Untergang des Dritten Reiches" I.e. they are different
again. The waistcoats are also different. Pure drawing!

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"SS-men cut the Star of David into the skin. "

Published with this text in "Faschismus, Getto, Massenmord — Dokumen-
tation ueber Ausrottung und Widerstand der Juden in Polen" published by the
Jewish Historical Institute Warsaw, Frankfurt/M. 1960 p. 42.

"The Star of David was burnt onto men's foreheads."

Published with this text in "The Pictorial History of the Third Reich — a
Shattering Photographic Record of Nazi Tyranny and Terror" Robert Neu-
mann, Helga Koppel — Bantam Books New York p. 148.

Comparisons: Publication by Robert Neumann.
28

Published like this by: Tadeusz Kotarbinski in "Meczenstwo walka, zaglada
zydow w Polsce 1939-1945" Warsaw, 1960 picture no. 38. 29

A single photo of the middle Jew in comparison to a real human with the
same size of head. Transfer the contours onto tracing paper, and you will find a
further biological wonder at the throat, the shoulders, arms and hands.

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"Corpses in CC-Buchenwald"

Published with this text in R. Schnabel, "Macht ohne Moral" p. 248.

These bodies never existed. We have before us a plain drawing.

Light and shade do not blend properly. It is totally unexplainable, no matter
what the light circumstances were, how the bodies on the left front could have
completely white legs and yet their heads are completely shadowed. The glaring
black-white contrasts indicate intensive sunlight which should, however, pro-
duce the same degree of shade; this is definitely not the case. The unrealistic,
completely white children's legs in the back (left) are contrary to the
conditions of light of the front bodies and are also anatomically wrong. The
faces of all bodies are extraordinarily similar and it is conspicuous that the
faces, lying closest, which should therefore be most clearly seen, are in the
unexplainable dark. An enlargement shows that all eyebrows are drawn, partly
even wrong, and that the anatomy of many bodies is false, e.g. top left. Such
long upper arms with such short lower arms are non-existent; when arms are
crossed, the lower arms lie more vertically to the body than as shown on the
left of the picture; the shadow runs over the breastbone without change.

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"Polish civilians are lined up in front of a grave, before they are shot by the SS"
Published with this text in R. Schnabel, "Macht ohne Moral" p. 399. The
picture was taken over by J. Thorwald, "Die grosse Flucht" p. 479. The text
there indentifies these "Civilians" as "hostages".

Published also in Gerhard Schoenberner "Der Gelbe Stern" I.e. p. 87 in a
better touched-up edition. ("The Yellow Star")

This picture is also not a genuine photograph. Ignoring the clearly recogni-
zable branches in the background and the folds on jackets and trousers of the
Poles, the three faces are not only unrecognizable, but the whole area of each
face has the same shade. Judging from the shaded face of the left SS-man, the
sun shines from above, right, i.e. from the wooded region. The two faces on the
right, including the hand of the right SS-man, could thus never be totally white;
the same applies to the caps of the Poles which are equally light on the shaded
side. The trouser legs of the two Poles standing third from left and right, have
the wrong light reflections. The black strip under the white hand of the right
SS-man, which is obviously meant to represent the arms of the two right Poles,
does not fit into the picture, neither from an anatomical viewpoint, nor from
that of light reflections. It escapes logic, why the second Pole from the right
should be pulled to the right as he already stands "correctly". The SS-man
would not walk in the line of fire, nor does the winter clothing agree with the
high position of the sun. There is no "grave" in the picture, also not in front of
the Poles. As the left SS-man (without eagle on his left arm!) is further removed,
he should be smaller. Sword-knats were not carried in active service apart from
the fact that it is too small and his arm is too long. His cap is also incorrect.

Enlarged section: pure drawing! White faces without any contours. No eagle on
the (eft arm. Unnatural shoulder on the right side of the Pole.

For comparison, a genuine photo of a man who has his hand streched out,
compared with his head; Russian partisans (taken from Paul Carell, "Der
Russlandkrieg" p. 342. Frankf 1967).

"They are dragged to death"

Published with this text in Robert Neumann, "Hitler — Aufstieg und
Untergang des 3. Reiches", Desch Verlag p. 154.

Published also in Tadeusz Mazur Jerzy Tomaszewski "1939- 1945 We have
not forgotten" Warsaw, 1961 pi. 105.
Picture from Mazur.

Enlarged section from the book Neumann, the other one from the book Ma-
zur. — Both faces are composed only with unnatural blotches!

This picture is a plain draping. The enlarged section of the "Luftwaffen-
Offizier"' makes further comment unnecessary. The lighting conditions in the
picture are wrong and also is the anatomy of the left man in front. According
to his head, his body is far too tall and too massive. The "dragged persons" are
no persons. As judged by the legs, there is no room for the upper parts of their
bodies. The "ropes" (only one can be seen anyway) are too thin.

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One of the two "spectators",
apart from the fact that he seems to
have no feet, his legs are puffed up
like sacks over his lower body. The
ammunition bag hangs in front of
his crotch, the top part of his body
is unnaturally small-chested, inclu-
ding the jacket or coat.

The considerable black shadow
of the motorcar does not corres-
pond with the missing shadow of
the looking "soldier" in the center
and the totally dark observer on the
left side. If You only look at him,
the question, where the light comes
from, could not be answered. In
any case: the light reflections are
contradictory in every part of the
picture, especially between every of
the four "Germans" and the motor-
car. Never could this happen in a
photo.

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"Lwe prisoners next to dead in the roads of the camp Mauthausen"
Published with this text in R. Schnabel "Macht ohne Moral" p. 332.

Published also with the following text in J. Thorwald "Die grosse Flucht" p.

476. The allies found the CC-Mauthausen like this."

Also published in enlarged form in Stanislaw Wrzos-Glinka "1939-1945

Cierpienie i walka narodu polskiego" Warsaw 1958, p. 76-77.

The above picture is fabricated. The seated group on the left in the foreground
is taken from the right, original photo on p. 37. The heads of the prisoners were
changed partly, so that they would not recognize themselves. The two men on
the left behind them were put on the road, the original ones have been taken
away and instead of them an additional sitting group of people put in. The back-
ground was changed (compare the barracks and their windows). The roof in
front and the three standing resp. going people were mounted into the picture.
Everything else was partly drawn in, whereby false perspective and wrong shad-
ows were introduced: Compare the black heads of the standing prisoners with
the shadow of their walking comrade and the white-black contrasts of the put
in dead bodies. Compare also the same type of painted window of the left and
right barrack with the windows of the original barrack (right photo p. 37).

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"The sick prisonders warm themselves
in the sun before taking a bath in the
Russian camp"

Published with this text in:

Vaclav Berdych "Mauthausen" Prague

1959 , Picture No. 50 (Chechoslovakian)

True photo

left: Cut from the picture on p. 36,
taken from the Polish enlargement.

The progress of the fabrication is unmistakable. With this picture, the
process can be seen here for the first time.

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"Corpses of gassed prisoners at the exit of the gas chambers, before they are
burnt"

Published with this text in "SS-Henker und ihre Opfer", Vienna 1965, -
published by the "Internationale Foderation der Widerstandskampfer (FIR)".

"This photo was secretly taken and smuggled out of the camp by David
Szmulewski, a member of the illegal resistance organisation. "

This better, re-touched version was published with this text in Gerhard
Schoenberner, "Der Gelbe Stern — Die Judenverfolgung in Europa 1933 -
1945", Ruetten und Loening Verlag Hamburg, 1960 p. 162. ("The Yellow
Star")

In 1948 it was stated in Budapest (Levai Jeno "Zsidosors Europaban" p.
280), that the "photographer" was David Grek.

A comparison with a picture by Dr. Tadeusz Kulakowski, "Gdyby Hitler
zwyciezyl..." Warsaw, 1960 p. 112, which is obviously the original of this
drawing, shows further changes in the reproduction. The bodies are too small in
comparison to the men, and they throw no shadow. The enlargement at the
bottom shows clearly that such "corpses" never existed. The position of the
throat, arms and legs of the woman in the foreground is completely impossible.
The left arm of the staggering man seems to have two elbows.

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] 'SS shoots Poles
in a sand pit. "

published with
this text in R. Schna-
bel "Macht ohne
Moral" Frankfurt/M.
19 57 Roederberg
Verlag, p. 307.

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This is a crudely fabricated picture. Technically such a picture cannot be
taken. The front part can only be taken from above and the back part can only
be taken from below, but to have both halves on one picture is impossible. The
left top part of the picture shows that the whole group of military personell
was cut out and has been stuck onto the picture and has been beset with
unnatural shadows.

It also shows that some background lighting is glaringly white, others toned
with colour - that the legs of the soldier on the left, behind the "gunner",
besides being anatomically wrong - do not fit to the head behind. The light
reflections contradict themselves and are unnatural; this is also to be noted on
the bodies and on the Pole. Compare his glaringly white hand'with the black in
which his legs disppear. On none of the figures left arm is the eagle visible, nor
are the SS-runes on the collars.

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This picture,
as comparison,
is an enlarge-
ment of a gen-
uine photo of
a German sol-
diers' grave in
Russia, taken
from the book
of the Welser-
mlihl Verlag,
Wels, Austria,
"Der Zweite
Weltkrieg in
seiner rauhen
Wirklichkeit —
Ein Fotodoku-
mentarbericht"
no year, p.
363.

This genui-
ne photo
shows clearly
how the per-
spective has to
be laid out for
an analogous
reproduction
of a picture.

The picture on page 42

is a second version of the picture on page 40. The left group of soldiers
has been cut off. The soldiers now visible on the left received new heads.
Behind the soldier in the middle, with the curiously black eyes, another, partly
covered soldier appears. The soldier on the right of the tank gunner also
received a new head, but it was still forgotten to mount his feet and body
anatomically correct. And then the gunner! For safety's sake, he has been
drawn completely new — this time with glasses. Note the bright cap and the
trousers which are light between the legs in comparison to the background
(other way around in the 3rd picture). It may be mentioned that the body parts
and the face and hair of the Pole have also been changed as well as the ground.

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"Shooting of Polish Jews by the SS'

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Published with this text in "Der Zweite Weltkrieg in Bildern und Dokumen-
ten." by Hans- Adolf Jacobsen and Hans Dollinger, Vol. 1 Der Europaeische
Krieg 1939 - 1941, Verlag Kurt Desch, Muenchen, Vienna, Basel, 1962 p. 100.
Published also in "Der Spiegel" No. 51/1966 p. 86.

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"Execution by a shot in the neck in the year 1940"

Published with this text in "Das Gesicht unseres Jahrhunderts — 60 Jahre
Zeitgeschehen in mehr als 600 Bildern" by Milo Dor — Reinhard Fedemann,
Econ Verlag Duesseldorf, Lizenzausgabe des Forum Verlages Wien 1960 p. 168.

The foreword of this book says:

"In the selection of pictures, we tried to use clearly reproductive, live and
representative pictures for the representation of the important trends of our
times. "

Firstly it is an infamy to describe this picture as "representative of the
important trends of our times" and secondly , this "live, clearly-reproductive
photo" is not even a photograph, but a crudely fabricated picture (3rd
version) which has been taken from the picture on p. 40 and 42. The
"SS-gunner" is changed again, his uniform is much darker and the background
has been lightened. The light reflections on the suit, in the face and on the hair
of the Pole are more clearly defined. The soldier directly behind him, with the
curiously dark eyes has disappeared, instead, there is a much smaller on in his
place, so that the black of the eyes of the previous soldier has now become the
cap of the new one. The soldier on the left has received a dark face, like all
others, and the shadows on his uniform have changed. The legs which are visible
in the picture do not all fit to the bodies of the soldiers. Compare the boots and
the right trouser-leg of the executioner with the shadow in the sand next to it
and the light (dark in the original) uniform of the soldiers behind. The eagle of
the tank soldier is not visible anymore. That it was forgotten to draw in the
SS-runes, while the epaulettes of an "Unterscharfiihrer" are shown, is only a
technical mistake.

Typically, the forgers pretend to know with the last picture, the date exactly:
"It was in the year 1940".

This picture is fabricated. The unclearness of the emblems on the caps, as
well as their lit edges, contradicts the sharpness of focus at other places. The
epaulettes of the SS-men are wrong which is due to the wrong cut of the la-
pels. In the sport badge of the right SS-man, the swastika is wrongly drawn.
The lighting of the picture is not uniform. According to the left Pole, the sun is
shining from the above left, which neither agrees with the turn-up of the
trousers of the left prisoner nor at all with the right prisoner, nor with the right
SS-man; here the light obviously falls in from the right. The black of the ears,
eyes, on the edges of the braces and on the top edge of the shirt of the right
prisoner can never be the product of photography. The hand of the left
prisoner is anatomically wrong and is too brightly lit, the background between
the two trousers of the prisoners is wrong. The whole situation is unrealistic.
Execution is undertaken in steel helmets, anyway, and not in dress-uniform.
Pictures of the murder of 500.000 German soldiers by Soviet partisans
(officially admitted by the Soviets), or mention thereof, and the numerous,
systematic exterminations of German prisoners-of-war in the Soviet Union,
Poland, Czechoslovakia, Jugoslavia and other countries can not be found in
these "scientific" books.

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"Before the public execution, the "sentence" is read to the victims, then the
salvo follows. "

Published with this text in "Der Zweite Weltkrieg in Bildern und Dokumen-
ten", Vol. I - "Der Europaische Krieg 1939 - 1941" by Hans- Adolf Jacobsen
and Hans Dollinger, Verlag Kurt Desch, MUnchen, p. 101.

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Stanislaw Wrozos-Glinka "1939-1945 Cierpienie i walka narodu Polskiego"
— Zdgecia — Dokumenty Warschau 1958.
"Der Spiegel" 12.12.1966 p. 83.

Next to it, section from the picture for comparison shows a new anatomical
wonder. Especially impressive is the height of the knees.

Print from Schoenberner "Der gelbe Stern" p. 86. ("The Yellow Star")
The same prints in Schnabel "Macht ohne Moral", p. 478, "SS im Einsatz -
Eine Dokumentation ueber die Verbrechen der SS" Berlin-East 195 7. Published
by the Committee of the Antifascist Resistance Fighters in the German Federal
Republic. Here with the text: "Soviet patriots are murdered by the SS. "

A section from the picture with comparison of a skeleton, reveals that this was
also drawn. Compare knees, length of arms, the unclearness of all physiognomic
contours, typical black - white contrasts, unreal light-reflections in the group of
civilians (one black, one white).

1111

ill

Published without text in Schoenberner "Der gelbe Stern" p. 91 ("The
Yellow Star") as well as in Stanislaw Wrzos-Glinka "1939-1945 Cierpienie i
walkanarodupolskiego" Warsaw, 1959 p. 41.

This picture is a drawing. The unclarity in both books, with a difference of
intensity, speaks for itself as does the incorrect light and shadow portion. The
right, naked person has the wrong anatomical proportions (shoulder width,
length of legs). According to the size of his head, he is far too tall and his body
is at an obligue angle, so that he could not possibly stand. The soldier on the
very right is far too tall, measured by his head, and in comparison to the person
in front of him, he is far too big. The civilians at the back in the middle have
too short legs, the left civilian also stands at an angle. The left naked ones have
too short and too thin legs.

Page 49:

This picture is a drawing. The two different prints are not the same if
compared in enlargement. The anatomical proportions of the soldiers are
wrong. The soldiers all have too short legs. One leg is missing on the second
soldier from the right, the other one is too thin. Officers' trousers are difinitely
wrong. The distance between the "Rabbi" and the "photographer" is so small
that no dead people could lie between them, and as such, the pose of the
"Rabbi" does not fit the scene. The building in the background is drawn, the
architectural lines do not run parallel to each other but at different angles.

Published without text in Schoenberner
"Der gelbe Stern" ("The Yellow Star") p. 36
+ Robert Neumann "Hitler — Aufstieg und
Untergang des 3. Reiches", p. 232.

Compare the different light-reflections bet-
ween the rabbi and the "police-soldiers",
the typical black-white contrasts.

Enlarged section and compari-
son with a skeleton, measured
by the size of the head. Note
especially the missing leg in this
position as well as the height of
the crotch. Especially in the en-
largement, it is possible to prove
that the upper arm is too short,
the elbow is therefore situated in
the wrong position, and apart
from that, the leg is too thin und
too skew. Compare the painting
of the uniforms, especially the
false or partly missing collar-
patsches, the false positions of
the buttons. — Here on the right
side an original photo — in a
comparative advertising bad
quality - of Paul Landwehr, SS-
Sturmbannfuhrer and major of
the Protective-Police.

r -mi

"Hanged Pa-
triots" — Pub-
lished with
this text in
"SS im Ein-
satz", Berlin-
East 1957 p.
563.

Compare the
right "victim"
with the skel-
eton, especial-
ly the size of
his shoulder
and ask,

where he
should hang
and where
the bottom
should be.

This picture is a drawing. The soldier is too tall, in comparison with the size
of his head and his legs are too thin. Two of the civilians are "hanging" without
ropes. The anatomy of the hanged men is impossible. On the right one, the
shoulders do not agree with the throat and head, the second one has a much
too large head, firstly in comparison to his body and secondly because he hangs
further away from the "photographer" than the first one. Conditions of light
and shadow are wrong.

Refering to page 51:

The pictures in both books are not the same in enlargement, this alone is
proof that this is a drawing. The anatomy of the SS-men is wrong. Measured
by his head, the belt of the SS-man hangs under his navel, thus he is drawn far
too big, the uniform is incorrect and the hands are also too large. The left
SS-man is also too large in body and hand and his throat is too thick. The
hanging men are also too long, in comparison with their heads.

"French cicilian is hanged by the
SS in Tulle"
Published with this text in R.
Schnabel "Macht ohne Moral" p.
493.

"Hanged people at Tulle"

Published with this text in '
im Einsatz" Berlin-East 1959
547.

SS
pi.

Enlarged section and comparison
of pictures, measured by the size of
the head.

Note specially the pelvic region
and the length of the arms. The
comparison proves that it is a draw-
ing.

"Prisoners were carted to the gallows with accompanying music' The pre-
scribed song was "Alle Voegel sind schon da". ("The birds of spring are here")

Published with this text in Robert Neumann "Hitler - Aufstieg und Unter-
gang des 3. Reiches" Muenchen, Basel, Vienna 1961, Desch Verlag p. 176.

Published also in a few Polish books.

This picture is a drawing. The different prints are not the same if compared
in enlargement. The perspective is sloped too much and the sizes are wrong.
The first musician on the right has shoulders which are too low and too narrow;
his legs are too long if compared with his head, his lifted foot (shoe) is too flat,
his trouser leg is drawn and seems to be impervious to light, his crotch is too
low, he has different shoe sizes. The fourth musician's left hand is missing. The
front prisoner, who is "pulling" the wagon, has too long arms or too short legs
in comparison to his head and body. His elbow is too low. The shaft handle
should be in a different position from where he "pulls". (Draw the handle in
yourself in the position where the other man pulls.) It appears as if the front
axle is missing on the wagon.

The SS-men in the background have too narrow legs. The one being pulled
on the wagon has a hand which is too large; it is the same size as that of the one
pulling in front who appears larger in the picture. The conditions of light and
shadow do not agree with each other.

The corresponding anatomical details can be identified by taking correspon-
ding enlargements of genuine photos of similar positioned people, which have
been traced onto tracing paper, and laying them over the picture to arrive at a
positive or negative conclusion.

Pictures for comparison: Right musician and skeleton a) identical body size,
b) identical head size. Note the pelvic region and the length and flatness of the
lifted foot with the shoe. Also compare the normal foot of a man of this size.
Considering that a shoe would extend the size. Notice the curved edge of the
accordion. Draw the contours of the leg and foot of the skeleton on tracing
paper and place it on the lifted foot of the musician. Result: the left knee
should show behind the right leg which is not the case.

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Enlarged section: A hand with three fingers and an upper arm so much too
long that any comment is unnecessary.

"Corpses of prisoners in a goods truck of a transport train from the
CC-Sachsenhausen to CC-Dachau, "

Published with this text in R. Schnabel "Macht ohne Moral" p. 345.

We shall limit ourselves to the fact that it is not known by the Central Office
for the Administration of Justice in Ludwigsburg, nor to the Dachau-Memorial,
nor the Institute for Comtemporary History in Munich, that such a transport
from CC-Sachsenhausen to Dachau was undertaken. In contradiction to this
numerous publications mention a train full of corpses, which was found in
Dachau at the end of April 1945. At the same time, however, these publications
report gas chamber murders in Dachau which thus makes them unbelievable for
historical investigation. These reports of the corpse train have been quite
varying and were never certified, so that even a posed scene is not out of the
question. The above picture has been drawn from an obviously posed scene.

Enlarged section from the following picture with a lower arm made of
synthetic material, or was the elbow joint drawn so incorrectly?

■i

Published without text in Schoenberner "Der gelbe Stern". ("The Yellow
Star") p. 191.

This is obviously supposed to be the same "Transport train", previously
mentioned, which, as stated, never existed according to the Institute for
Contemporary History in Munich. This time the picture was apparently put
together with genuine parts of pictures (soldiers, false arm, goods truck) with
mounted or painted corpses. It is noticeable that bodies at the same distance
from the "camera" have different sizes, especially those of the kneeling soldier
and that of the corpse with its buttock in the air as well as the corpse in front
of it. As such, the kneeling soldier should measure 6 cm when standing up —
measured by the size of his head. The corpse with up-ended buttock (not a
possible position of a dead body!), measures 3,6 cm measured by the length of
its thigh. Should 6 cm be proportional to 1,80 m (body hight of soldier), then
3,8 cm is proportional to 1,15 m. This body must have been a dwarf, the same
counts for the corpse in front of him, which is 1,50 m (measured by the length
of his torso), but the thigh and arms do not fit the anatomy of the torso. The
unclear contours of all dead bodies within in the railrod-waggon, the unclear and
dark side of the waggon in relation to other bright portions without shadows
are unnatural and not possible in a real photo.

"Mountains of shoes of murdered prisonders in Auschwitz"

Published with this text in R. Schnabel "Macht ohne Moral" p. 247.
(according to the "Gerstein-Bericht" it is a "heap of at least 25 metres high"
which is higher than a normal seven-story -building.)

A better, re-touched version in Schoenberner "Der gelbe Stern" ("The
Yellow Star") I.e. p. 164.

This picture is also a fabrication. Enlargements and other publications of the
same picture, with a few changes on the sides reveal that this is supposed to be
a barrack, of which the walls, according to photograph ical perspectiye, should
run conically together at the top, and not, as in the picture, run apart. In other
words, the forgers have used the wrong perspective. According to written testi-
monial by the editors, in a case against the editor of this book, Mr. Schoenberner
alleged that this picture was taken after the war. On January 27, 1945 the com-
plex of Auschwitz was taken by the Red Army and apparently the Russians wai-
ted 5 months before taking the first pictures of their find. The Institute for
Contemporary History in Munich notified us in writing that all wooden
barracks in Auschwitz-Birkenau were burnt by the SS and that nothing
remained except the stone chimneys of the barracks. The "goods camp" was
included. Thus such a picture could not have been taken after the war. Apart
from this historical evidence, a mountain of shoes could never be stacked like
the one on the left.

It is also an absurdity, to stack these shoes so high, that not even a long
ladder is long enough to enable one to throw the shoes up. The light and
shadow in the front agree with no conditions of light whatsoever. Even here,
the pairs are not tied together which makes all further comment superfluous.

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"False teeth of dead prisoners from CC-Sachsenhausen"

Published with this text in R. Schnabel "Macht ohne Moral" p. 256, taken
over by J. Thorwald in "Die grosse Flucht" p. 476 with the following text:

"Thousands of false teeth, taken from the corpses of murdered prisoners from
CC-Sachsenhausen"

Put a few dozen false teeth next to each other on the floor, and you get the
same photographical effect with a flash-lamp and the camera held downwards.
Even so, a few changes have been made in the above picture (eg. the elongated
false teeth above, right, 2,5 cm from the top corner).

This picture will only attain documentary value if such a mound of thousands
of teeth were photographed from various angles, if it were confirmed by a neu-
tral scientists' commission, and if it had been made known to the international
public with mention of the exact place, directly after it was found. This has not
happened. As far as is known, this is the only existent version of this "find"; it
is however, no evidence. Apart from this, every dentist, if not every reasonable
person knows that not one denture of a dead person is usable; it has not even
got material value. Neither could the "IMSV" (Nationalsozialistische Volkswohl-
fahrt, a charitable organization in Germany) — contrary to allegations in the
postwar literature - do anything with them.

The Institute for Contemporary History notified us that there is nothing
known about a heap of false teeth in the CC-Sachsenhausen.
58

9S+A

"A shattering testimony: a mound of shaving brushes of victims murdered in
Auschwitz"

Published with this text in "Die SS-Henker und ihre Opfer" by the
International supporters of the Resistance Fighters (FIR) Vienna 1965.

This picture is also without historical value. The anonymous black back-
ground is immediately obvious, and if you look through a magnifying glass, it is
clear that the light reflections of the brushes are so varying that they definitely
contradict themselves. Judged by many of the brushes, the light should fall in
from above, left, others again show that it falls in from the right. Both
possibilities are contradicted by the shadowed parts and the black background.
Apart from this, there were enough shaving brushes in Germany at that time,
and it was neither done nor expected to have to resort to such "collections".

What is said about the other pictures applies also for this: they are not pub-
lished immediately after finding, there is mentioned no concrete place of find-
ing, no finder, no record; they are not confirmed by a neutral scientists' com-
mission. Nothing can be proved. Nobody has seen such collections. Nobody
knows, where these things should be today. Nobody did ask questions about
them.

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"Glasses in the store room in CC-Auschwitz'

Published with this text in L. Poliakow and Wolf "Das Dritte Reich und die
Juden" p. 133, Arani Verlag, Berlin 1959.

This "heap of glasses" is also a drawing. Apart from the fact that apparently
all glasses have the same wire frame, the light reflections show that most frames
have no glass in them at all, let alone curved glass of refractive usefulness.

These are mainly glassless frames, window glasses or totally white reflecting
material, of which some reflect to the left, others to the right, thus contra-
dicting the large shaded areas. It is also remarkable, that all "frames" are drawn
in identical shades and are obviously opaque.

Note the two dark glasses
with white frames near the center which each let the background through
at only one place - and then it is a bright white stripe. The anonymous
background (dark on the left and light on the right), the missing certification
by international publicity, the obviously nonsensical reason for making such a
"collection" (should someone want to wear such glasses?) are typical parallels
to the other forgeries. From such pictures one can only conclude that such
things were not found in Auschwitz, otherwise the Soviets would have
presented the public with the original finds immediately in 1 945.

"Stacked sacks with womens' hair in Auschwitz. "
Published with this text in R. Schnabel "Macht ohne Moral" p. 261.

This picture is a pure drawing. The sacks (one exception on the right) are
without any shading, they lie on top of each other like sausages, the light and
shade do not blend naturally. Such sacks do not exist. It is typical that the
people are anonymous and that the shades are wrong. As the sacks are so light,
it is completely unexplainable how the man on the left can be so dark. The
same applies for the bright white stripe across the stomach of the man in the
rear, the black at the feet of the men, and, not lastly, the shadeless white
behind it which can neither represent hair, nor sacks, nor anything explainable.
The arms of the men are too narrow and in addition, they are held too high.
Enlargements and reproductions from "SS im Einsatz — Eine Dokumentation
iiber die Verbrechen der SS", Berlin-East 1957 p. 451, show not only drawing
changes but also other differences in comparison. A drawn enlargement of a
part of the sacks in Prof. Tadeusz Kotarbinski "Meszenstwo walka, zaglada
Zydow w Polsce 1939 - 1945" Warsaw, picture No. 197, removes the last doubts.

It is known to the editor that there exists a short "living scene" of this pic-
ture-situation in a Soviet propaganda-film. But it is known to the editor too
that such "living scenes" can be produced by technical tricks.

It must repeated here: Nobody has seen, nobody examined such sacks, nobody
has asked further questions about them.

"Women's hair in drums in CC-Auschwitz"

Published with this text in R. Schnabel "Macht ohne Moral" p. 259.

This picture, which could easily be posed anyway (one need only borrow a
few hair pieces from a wig-maker), is nevertheless fabricated. It is doubtful,
whether the hand of the man, which is too big, is part of a photo or whether
it is pasted in. The missing shadow on the fingers of this hand contradict the
other shaded parts. A photograph, which is clear on the right and also shows
details of the grain of the drum on the left, should also reflect the contents of
the drum clearly which is not the case. The "hair" on the drum has been drawn.
The shading of the drum on the left contradicts that of the suit and the opening
of the drum in the middle of the picture which should not be totally black.
Typical again, is the anonymous background of the picture; they did not even
dare to show the man's face let alone show any specific details.

Focus contrasts, such as those between the hair in the hand and the hair
lying close to it on the drum, are technically not possible.

According to this text, every refuse dump should serve as evidence of human
hair. The effrontery with which such texts are written obviously knows no
bounds and places a very low value on the intelligence of the viewer. The
complete impression of the picture makes it unnecessary to draw attention to
the unnatural conditions of light and shade on the respective drums. It must be
mentioned that it has been earnestly alleged, without bringing proof however,
that such hair was used for the "NSspinning material collection" (S. Einstein
"Eichmann — Chefbuchhalter des Todes" p. 196) for "U-boat sealer" ("Ger-

ptein-Bericht") or — as Eugen Kogon "knew" in 1945 already - "sent to fac-
tories to be processed" ("Der SS-Staat", 1st ed. p. 132, 5th ed. p. 167). It makes
pne sick to see the impertinence with which such "evidence" is brought to
fhe public long after 1945, by publishing these "photographs" as leading
evidence of the presence of stacks of human hair in Auschwitz, though the
public never heard of a neutral Investigation Committee ever visiting these
places nor have they seen any supporting pictures to localize the place of the
find. The example and result of the late investigation into .the fate of more than
10.000 Polish officers in the woods of Katyn by the Soviets, with strict
prohibition of any neutral reporters, is too well known to believe such a type of
''investigation" and "evidence".

'•Drums with human hair in Auschwitz"

Published with this text in R. Schnabel "Macht ohne Moral", p. 260.
Published also in Kurt Zentner "Illustrierte Geschichte des Dritten Reiches"
c >n the back of page 520.

Robert Neumann, "Hitler — Aufstieg und Untergang des Dritten Reiches",
pesch-Verlag 1967, p. 186.

: ■

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"Marriage rings of gassed victims"

Published with this text in "Die SS-Henker und ihre Opfer" by the
"Internationale Foederation der Widerstandskaempfer" (FIR), Vienna 1965.

This picture is fabricated, and inexpertly at that; as the distinct shadows
contradict each other, it would have been quite easy to change them. If,
according to the right table leg, the light comes from the front, the arms and
left edge of the box can not throw a shadow to the left. Apart from that, notice
the left and right trouser legs, one is light and the other one black! The
anonymous setting of the picture without a head and the monotonous light
shading in spite of different exposure to light (backpart of box and hand) are
typical characteristics of the other pictures as well.

From this picture as well, it can be concluded that no rings were found in
Auschwitz. Otherwise there would have been genuine photo documents at
hand, and forgeries would have been unnecessary. Apart from this, these rings
look suspiciously like curtain rings not marriage rings.

Refering to page 65:

This picture is also fabricated. Note the totally white legs of the second
corpse from the left on the top of the pile. It is without the slightest shadowing
on a totally black base. The figure in front on the right, is anatomically
unexplainable. The light parts in the background contradict the many light

parts in the foreground. A comparison of anatomical size of the corpses, which
are the same distance from the "camera", shows differences in size up to
25- 30cm, without reflecting these differences in the limbs of the respective
corpses. For instance the prone, black-clothed, half-sleeved corpse, with the
curiously black head, is larger and more massive than the one lying under it. It
has a lower arm of the same thickness but which is even shorter. This lower arm
again, is the same size as that of the half-standing corpse, which is however,
much smaller than the prone, darkly-dressed corpse, if measured by the size of
the body. Look at the left front part; most of the lower lying parts are
anatomically unexplainable and are also untrue in their light reflections.
Finally, look through a magnifying glass at the parts, which run without
blending, from bright white into the darkly shaded background,

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"Stacked like wood" (Dachau)

Published with this text in L. Poliakow and Wulf "Das Dritte Reich und die
Juden", p. 209

This picture is also fabricated. The brightly lit corpse, whose right foot is
contourlessly white, contradicts the light reflections of the unrecognisably
black chest and the dark black background behind the left man. According to
the brightly lit right foot of the corpse the light must come from the front
right, the handle of the stretcher, contradictory to the conditions of light, is
shaded in the front and ends in a completely shaded trouser leg. The trouser
of the "prisoner" in striped jacket is lit from the back, i.e. left, which again

contradicts the lighting of the corpse. The contrasts of overly bright and black,
which frustrates all attempts at identifying details, has met us too often in
forgeries to ignore it. The man on the right has a too thin arm and that the
sleeve blends without shading into the foldless shirt makes it obvious that this is
a drawing. The picture contains a further curiosity which in itself is enough to
prove the forgery: take a ruler, and try to connect the 4 visible parts of the left
shoving rod. These do not result in one single rod, but point in four different
directions. The extended left part of the rod aims at the elbow of the corpse
and the second part ends in the middle of the other rod's tip. The small piece of
the left shoving rod, visible through the light oven door frame, is drawn nearly
horizontally. Look at this optical wonder of the rod through a magnifying glass,
and you will see this clearly!

"In the cremation rooms, thousands were burnt daily"

Published with this text in "Das Dritte Reich — Seine Geschichte in Texten,
Bildern und Dokumenten" by Heinz Huber, Artur Mueller, in co-operation with
Prof. Waldemar Besson, Vol. II, p. 531, Verlag Kurt Desch, Munich, Basel,
Vienna 1964.

Published with the following text in "Unser Jahrhundert im Bild" Bertels-
mann Verlag Guetersloh 1965 (Foreword by Golo Mann) p. 550.
"CC-Prisoners of the 'Special Commando' in Auschwitz-Birkenau push corpses
of gassed Jews into the burning ovens"

According to the Publishers, dpa (Deutsche Presseagentur) publicised the
picture. Dpa notified that this picture was taken in Dachau, and was obviously
posed by the Americans. The memorial centre in Dachau denies this, the
picture is unknown there. The forgers stay anonymous in this case as well. The
source is also in the communistic sphere: Stanislaw Wrzos-Glinka "1939 - 1945
Cierpienie i walka narodu polskiego" Zdjecia — Dokumenty Warschau 1958.

"Kowno 26. June 1941" (picture page 67)

Printed with this text in Schoenberner "Der gelbe Stern" p. 40.
("The Yellow Star") Comparisons here also reveal forgery, a) A
skeleton to show the same height as the thigh, b) the same height
as head.

"Munich 1933

This picture of the lawyer Dr. Spiegel, went through the whole world press:
"A man goes to the police to find protection against the SA-terror. But the SA
itself has been nominated as "assistant-police".

Printed with this text in Schoenberner "Der gelbe Stern" ("The Yellow
Star"), Bertelsmann Sachbuchverlag, Giitersloh 1968, p. 15.

This picture also is not a photo. Apart from the fact that just about everything
on the picture is unclear while the writing on the other hand is absolutely clear,
note the legs of the main person. The left thigh does not fit to the knee at all.
The legs, including the thighs, are much too narrow in comparison to the body.
A comparison on the opposite page speaks for itself. Compare the head with
the size of the body, as well as distance and perspective.

This picture — first published after 1945 — exists in a lot of variations with
different inscriptions on the poster. The origin of this picture is a caricature,
published in a Jewish pamphlet by E Varlin in Paris 1935. The editor describes
the history and development of this picture in his scientific journal "Histori-
sche Tatsachen" No. 34 p. 38 ff and No. 38 p. 31 ff.

"Thousands
of shoes of mur-
dered prisoners
in Auschwitz"

Published
with this text in
R. Schnabel

' ' Macht ohne
Moral", p. 244.

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The one who found such a mound of shoes in Auschwitz would not have
missed taking a photo with a reasonably good camera, so that the background
could also be recognised in detail. It is evep more fatal for the "photographers"
to arrange shoes in the foreground, so that some of them throw a shadow and
others do not. In addition, they have chosen an open space, not even the floor
of a barrack, on which they have drawn the mound in black and white
contrasts, in which nothing but interlinking lines are recognisable, and which
can not even be identified as shoes. How stupid the "bad Nazis" must have
been on the other hand, if they collected so many shoes, without tying them
together in pairs! (That refers to the following picture as well.) Eugen Kogon,
who had just been released from the concentration camp in Buchenwald, knew
already "that there was a big sign in front of the dressing room of the gas
chamber, which was marked as 'shower room', requesting one to fold the
clothes in a heap and to tie the shoes together, so that they would not be lost."
(Eugen Kogon "Der SS-Staat" 1st edition, p. 132. 5th edition p. 167.)

And what should such haphazard collections achieve?

Printed in:
Constantin Si-
monow "The
Lublin Extermi-
nation Camp"
Moscow 1944, p.
12.

A comparison
of the pictures
shows, just as
obviously that
this picture is al-
so drawn.

These pictures reveal with shattering insistance,

what extreme degrees of forgery were committed in those places where these
"extermination camps" were situated, who were in a position to keep the
international media away, and hence prevent prompt, proper investigation and
so managed to obscure what had really happened.

The shoes of prisoners from Auschwitz, were freely invented. These shoes
from Lublin as well. Both pictures contain the same shoes.

sf*&

This is the right "man" on the "shoes", compared to a human skeleton with
the same size of head, and the same stature. There is no doubt about it, this is a
drawing. Apparently this even dawned onto the forgers, otherwise they would
not have removed the people later on and inserted a broom in the front corner
of the picture on page 70.

"Olkusca 31st July, 1940"

Published with this picture in St. Wrzos-Glinka "1939 - 1945 Cierpienie i
walka narodu polskiego" Warsaw 1959 p. 29.

This picture is a drawing. The soldier is far too tall compared with the size
of his head. Neither is the anatomy of the prone corpses correct; the light and
shade conditions are wrong, the ground is too tilted, the perspective is. wrong,
recognisable especially on the soldier running in the middle of the square. The
buildings in the background are too large. Typical again is the fuzziness of the
picture.

Comparison, measured by the size of the head.

V. \ ' 5

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"Mauthausen"

Published with this text in R. Schabel "Macht ohne Moral", p. 341.

Refering to page 75:

Published with this text in the files of the "International Military Tribunal"
Vol. XXX, p. 421 and shortly before, without text in Eugene Aroneau
"Konzentrationslager" Doc. F321 for the "International Court of Justice" in
Nuernberg. It was like that by Heinz Kuehnerich "Der KZ-Staat" Berlin-East
1960, p. 81; Vaclav Berdych "Mauthausen" Prag 1959 (Tchechoslavakian),
Picture part; and Robert Neumann "Hitler — Aufstieg und Untergang des
Dritten Reiches" l.c-

"Roll call"

On the picture on page 74,
the wooden fence was taken
away, the corpses put in
front and the new picture
was passed as an "original
photo". An enlargement
shows, that this "roll call"
has been drawn. The dark
shaded man in the middle
contradicts the colouring of
the other men. There is con-
tradictory lighting. The
wooden poles should run
conically together at the top,
the opposite is the case. The
anatomy is wrong in many
cases. Look at the enlarged
section shoulders, chest, nip-
ples, arms (especially elbows),
pelvis, knees. — If one man in
this picture is painted, so the
others too; in any case, it is
no photo, no document, —
in spite of the fact, that this
picture was introduced in
connection with a lot of sim-
ilar pictures and correspond-
ing textes as "Document F
321" to the Allied Military
Tribunal in Nuremberg.

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one with the same length of arm as
his right one (left in the picture).
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crotch structure are wrong and his
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"...The camp inhabitants fertilized their vegetables with ash and chared
human bones"

Published with this text in Konstantin Simonow "Ich sah das Vernichtungs-
lager", published by the Soviet military administration in Germany, Berlin-East,
no year (1945 - 1946), p. 16.

A photo without any power as evidence. The only testimony this Sovjet
picture gives, if any, is that no mass graves were found in Auschwitz, Treblinka,
Belzec, Sobibor and Maidanek. It appears no other explanation need be given to
the worldwide public about the alleged extermination of 6 million Jews exept
such "evidence" according to which the bones of 6 million humans were
ground in bone-mills and strewn over the land as "fertilizer" so as to leave no
trace, and thus the remains are not to be found. Naturally, no evidence of such
"bone-mills" has been uncovered.

It is very difficult not to become indignant about these disgusting falsified
presentations in word and picture by today's "scientists" and "historians" who
offer such things to mature people, the nations and the world, while at the
same time frustrating any neutral investigation by internationally acknowledged
scientists and historians.

This pictorial documentary is to encourage the public to demand an
international investigation into all accusations which burden the German
people with guilt. Truly unprejudiced, recognized scientists and historians
from all prominent nations of the free world should lead such investiga-
tion. This then could become the basis for an international law.

Unmasked after thirty years....

At last it has been written: the
book to silence all but conscious
liars. In

The Hoax of the Twentieth Century,
Professor Arthur Butz conclu-
sively demolishes the greatest pro-
paganda legend of our times — the
legend that the Germans attemp-
ted to "exterminate" the Jews
during World War Two. Com-
bining the historian's mastery of
documents with the technical
knowledge of a scientist, Prof.
Butz' book is the product of a
truly massive research effort last-
ing three years. The author takes
his theme far beyond all previous
work done in this field, and his
book, we feel sure, will remain
the standard volume for many
years to come.. We take pleasure
in presenting a classic work, a
monument of scholarship.

German Translation

"Der Jahrhundertbetrug'

"An historic lie ...
the most tragic and the most macabre imposture of all time. "

These words written in 1962, describing the alleged extermination
of Jews in gas chambers by the Nazis, are those of the first pioneer
in this field, Prof. Paul Rassinier, a Frenchman interned at Buchen-
wald concentration camp. Now an American, Arthur R. Butz,
Professor of Engineering at Northwestern University, Illinois, has a
very real sense completed that pioneer work. In all essentials, his
book The Hoax of the Twentieth Century is the last word on its
subject. Students will undoubtedly use it as a basis for further
investigation, but in a breadth of its scope and the depth of its
research, it will remain the most complete statement of its kind ever
written.

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